But it was a reverse-engineering thing that the stunt guys had never had to do before. It was a challenge for Bill Pope and also the stunt coordinator, Darrin Prescott, because you’d have these bits worked out with the song, and then they’d say, “Oh, um, in reality, this stunt is going to take a little bit longer than you’ve given it on screen, so do you want to cut it tight, or do you want to change the timing a little bit?” So we’d do quite a lot of modulation of it. Of course things that you plotted out on the page are a little different when you try and do it with real cars.
We did storyboards, and then we cut the storyboards to the songs so we could try and time it out and make sure that it worked. When I wrote this script, I basically put the beats of the song into the stage direction along with the action. Queen’s “Brighton Rock” would be one of the toughest ones, because it’s quite a dense song. How challenging was it for your editor, cinematographer, and stunt people to go along with your wanting the action scenes to synch up exactly with a song’s running time? He’s at the start - the first voice you hear on the soundtrack-and he’s one of the last voices you hear in the movie. I will say that he’s in the last five minutes of the movie, so he essentially bookends it. Yeah, but I don’t want to divulge exactly what he does, because it gives away the ending of the movie. So I would say Jon Spencer and the album “Orange” inspired me to make this movie.Īnd you’ve got a cameo by Jon Spencer in the movie, presumably as a way of thanking him? And then it’s like, what is the story that goes with these visuals? So the idea that started it all off was: Maybe a getaway driver is listening to this song, and he’s actually trying to time out his getaways and literally have the perfect score for the perfect score.
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At the time, I wasn’t necessarily, “This is a movie I’m gonna make.” But it was almost like the closest thing to having action-movie synesthesia, I would listen to that song and imagine this car chase. And I just started visualizing this car chase. When I was 21 and I was living in London for the first time, and had made my first low-budget movie but certainly wouldn’t have called myself a film director, and was completely broke and sitting in my bedroom, not sure how I was going to really break into the industry, I listened to that song a lot. But it sounds like it was a slightly less vintage track, “Bellbottoms,” by the Jon Spencer Blues Explosion (from 1994), that was really the instigating track for you and this project.Įdgar Wright: Yeah. You’ve got these chase sequences set to high-energy tracks from the 1970s by Queen, the Damned, Focus, and Golden Earring. On the morning of the movie’s release, Wright took time out from celebrating to talk with Variety about the kicks of creating a movie so infused with music that the characters actually talk about songs, on top of peeling out from bank heists to them. The automotive scenes tend toward recently underexposed, revved-up ’70s rock classics by the likes of Queen and Golden Earring, but the “Baby Driver” soundtrack also offers cuts of various styles and vintage from Beck, Brubeck, Barry White, the Beach Boys, and soul duo Bob and Earl, just to touch on Wright’s B-list. Wright is as much of a music geek as a tire-squeal fetishist, and time spent with this mixtape - whether it’s via the packed two-CD soundtrack, or just as it plays out to picture, very loudly, in theaters - is time few rock fans would regret.
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That’s because vehicular mayhem and music compete for top billing in Edgar Wright’s action-comedy-romance, with the whole idea of “incidental” music going by the wayside as the director lets most of the 30-plus songs on the soundtrack play out at close to full length. Or, conversely, you could think of it as a playlist that happens to have a crime film attached. You could describe “ Baby Driver” as a car-chase movie set to rock and roll.
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